In this discerning study of the relationship of the tragic vision to the Hebrew, W. Lee Humphreys suggests various ways in which Israel confronted the power of the tragic vision at certain points in its tradition. Humphreys demonstrates how Òtragedy,Ó the literary genre, and Òthe tragic visionÓ maintain a delicate but vital balance between fate and law. In conclusion, he contends that the tragic vision finds fullest expression at points of radical dislocation in human history. At these times, the essential questions of existence are reopened, rehearsed, and relived as the tragic vision questions all previous answers and dogmatic claims to the meaning of life.

A fascinating intertextual study of the classic biblical tragedy of Saul, the first king of Israel, as first narrated in biblical narrative and later reworked in Lamartine's drama Saul: Tragédie and Thomas Hardy's novel The Mayor of Casterbridge. Plot and characterization are each explored in detail in this study, and in each of the narrations the hero's tragic fate emerges both as the result of a character flaw and also as a consequence of the ambivalent role of the deity, showing a double theme underlying not only the biblical vision but also its two very different retellings nearer to our own times.

Offering an alternative to classic Christian theodicies (justification of God's goodness and omnipotence in view of the existence of evil), Wendy Farley interprets the problem of evil and suffering within a tragic context, advocating compassion to describe the power of God in the struggle against evil.

Apart from the occasional recognition of comic forms or motifs in biblical dress, the vast majority of interpreters have usually discounted or even disdained the possibility of the Bible having any significant place for the comic vision. This book attempts to make amends for this short-sighted, prejudicial perspective.

Simone Weil's supernaturalist interpretations of tragedy challenge not only the philosophical skepticism but also the religious rationalism characteristic of the modern age. This book boldly points out a supernaturalist alternative to contemporary, post-structuralist literary theory. This study of classical tragic drama offers a sacralizing impetus to secular discussions of literature. The book's Platonic premises and its grounding in the transcendental outlook of the religious traditions furnish a sacred illumination. Religious mystery and the cross of Christ both overshadow and deepen philosophical approaches to literary criticism, including theories of tragedy. Simone Weil's conception of tragic art, rooted in a mystical Christian metaphysics, offers original insight into the nature of tragedy. In contradiction of the prevailing secular outlook, Weil regards classical tragedy as a sacred art form. Tragic masterpieces evoke not the chaotic or irrational, as modernist interpreters hold, but rather a good which is absolute

Collection of essays discussing many unresolved or largely unaddressed issues about this unique deity.

CHOICE2000 Outstanding Academic Title Comedy, tragedy, and religion have been intertwined since ancient Greece, where comedy and tragedy arose as religious rituals. This groundbreaking book analyzes the worldviews of tragedy and comedy, and compares each with the world's major religions. Morreall contrasts the tragic and comic along twenty psychological and social dimensions and uses these to analyze both Eastern and Western traditions. Although no religion embodies a purely tragic or comic vision of life, some are mostly tragic and others mostly comic. In Eastern religions, Morreall finds no robust tragic vision but does find significant comic features, especially in Taoism and Zen Buddhism. In the Western monotheistic tradition, there are some comic features in the early Bible, but by the late Hebrew Bible, the tragic vision dominates. Two millennia have done little to reverse that tragic vision in Judaism. Christianity, on the other hand, has shown both tragic and comic features—Morreall writes of the Calvinist vision and the Franciscan vision—but in the contemporary era comic features have come to dominate. The author also explores Islam, and finds it has neither a comic nor a tragic vision. And, among new religions, those which emphasize the personal self come close to having an exclusively comic vision of life.

An encyclopedic guide to the interpretation and understanding of biblical literature. Though written by members of the National Association of Baptist Professors of Religion, the 1,450 original entries by some 225 contributors are diverse in viewpoint and devoid of theological prescription. They're

This volume considers the emerging Jewish interest in an afterlife during the second temple period in relation to developing views of the deity and the self. In some circles God is understood as increasingly distant from the human sphere, and so justice must occur in another world or after death; at the same time, more autonomous constructions of the self in response to community breakdown suggest that reward and punishment come not only collectively, but also on the individual level in a post-mortem realm. The book traces the interconnections between these themes in Job and Ecclesiastes, Ben Sira and Daniel, then Wisdom of Solomon and 4 Ezra, crossing genre boundaries in an attempt to offer a more encompassing historical investigation.

Tragedy of the Commons invites readers into a fresh exploration of the book of 1 Samuel, which tells the story of Saul, Israel’s first monarch and the personification of its chronic sins. Stulac’s unique voice combines sensitive exegesis with probing meditations on culture, art, literature, memoir, and Christian spirituality. He cuts deftly through the moralistic reductions of Old Testament stories for which the church too often settles, and in doing so, reveals the life-giving rhetoric of a biblical book aimed squarely at the reader’s transformation of mind and heart. “Israel’s common tragedy,” writes Stulac, “will be solved through a lengthening and a deepening of the tragedy itself. Finding his people up to their eyeballs in sewage, God dives into the polluted abyss, swims to the bottom, and unplugs the pipe below their flailing feet.” From Hannah’s miracle baby to Saul’s suicide, Tragedy helps readers to recognize both their own predilection for idols as well as the surprising ways that 1 Samuel anticipates the gospel of Jesus Christ. “King Saul serves not as a finger-wagging argument for God’s disengagement from his people’s fate,” Stulac claims, “but as the shocking conduit of God’s incarnational involvement in their corporate mess.”